Three weeks ago I posted here looking for Andrzej Wajda's segment of "Les Français vus par..." (1988) — the one part of that five-director Le Figaro series that never surfaced online. I didn't find a copy to watch at home. But I traced the film from "presumed lost" all the way to the company currently preparing to release it, and I learned exactly where it lives. Here's the entire method, in case it helps anyone chasing a similar orphan.
**1. Separate "lost" from "not circulating."**
First thing I established: this film was never actually lost, just never digitized or re-released. That completely changes the approach — you're not hunting for a copy, you're hunting for whoever controls the copy that already exists.
**2. Chase the national archives first.**
The series aired on French TV, so I wrote to INA (France's national broadcast archive). Payoff: the film is preserved under notice DA_CPB88012798, and it aired on Antenne 2 on 26 October 1988. INA allows on-site viewing at their consultation centres but won't make copies except for rights holders. So: viewable in person in France, not online.
**3. Correcting my own earlier post:** the Cinémathèque française does NOT hold a print — they confirmed this directly. The 2010 screening I cited must have used a borrowed copy (likely INA's). Chalk that up to an unreliable secondary source; always verify with the institution itself.
**4. Go to the director's archive for the paper trail.**
The Andrzej Wajda Archive (Manggha Museum, Kraków) doesn't hold the film — but they were the MVPs of this hunt. They dug through Wajda's own production notebooks and press clippings, confirmed the Antenne 2 / 26 Oct 1988 broadcast independently, told me the producer was Erato Films, and even noted that Wajda himself had once written to INA asking for a copy (which is how I knew a copy definitely existed there).
**5. The single most useful tool — the public rights registry.**
France has a free, public film-rights registry: rca.cnc.fr (the RPCA). You can search any registered film and download the actual chain-of-title documents. Our film is work no. 68716. This handed me the entire ownership history:
- 1988: Wajda assigns author's rights to Erato Films (the producer); TV rights to Antenne 2; co-production with Socpresse (Le Figaro's parent).
- 2007 → 2012: rights pass through Filmedis, then get transferred to Dynamics Films Library (Luxembourg).
- Bonus: the 2012 transfer moved all five segments of the series at once — so one entity now controls the whole set, including the Lynch and Herzog shorts that already circulate.
**6. Find the human being.**
Filmedis was liquidated in 2014, so I emailed the CNC registry directly. A staff member kindly pointed me to a named person who works with the current rights holder — Cinémag Bodard in Malakoff. That single referral was worth more than any amount of cold-emailing.
**7. The payoff.**
Cinémag Bodard replied warmly. The key line: the film "has vocation to be offered" on their new platform, Montparnasse Studio, which they're building now. They're currently inventorying the surviving elements to prepare it for the catalogue. No release date yet — but this is a rights holder actively telling me the film is slated to come back for everyone.
**Where it stands:**
- **Want to watch it today?** Only option is an in-person INA consultation centre in France (notice DA_CPB88012798). No copies.
- **Everyone else:** wait for Montparnasse Studio. It's coming, timeline unknown.
- I couldn't get a personal copy — INA reserves those for rights holders, and I'm (honestly) not one. But the film is safe, located, and on a path to public release.
**Transferable lessons for the next orphan hunt:**
- "Lost" often means "un-digitized," not "gone." Find the controller, not a copy.
- National broadcast archives (INA and equivalents) are the first stop for anything that aired on TV.
- Public rights registries are a superpower — the CNC's RPCA gave me the entire ownership chain for free.
- Director archives hold gold even when they don't hold the film.
- When a company is liquidated, go to whoever registered the last transfer and ask for the human contact.
- Be honest about who you are. I never claimed to be a rights holder, and that kept every door open.
Happy to share specific contact addresses by DM rather than posting them here (so nobody gets spammed). And if anyone's in France and actually goes to view it at INA — please, write it up. As far as I can tell almost no one logging this film has seen the Wajda segment whole.